LARRY CRESSMAN, born 1945
Drawing (Out in the Open), 1995
Cressman's intervention is a subtle commentary on the notion that meaning in art exists independently of the space in which it is displayed.
Rather than placing a work of art in the museum, Cressman has used the actual structure of the building as a material to create art. He has wrapped the pier that supports the overhead balcony, using it as if it were an armature for a sculpture.
The installation also corresponds conceptually with the gallery located beyond the glass doors to the right. There works on paper, such as drawings and prints, are shown. The proximity of this work and that space is a critique of the tendency to categorize artworks according to the materials from which they are made.
Cressman's work is not on paper, but rather of paper. It is as if his piece, by not conforming to the rules of such categorization, must stand outside the boundaries used to define collections in museums.
Courtesy of Hill Gallery
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